[Qi Jianling] Physical inheritance of intangible cultural heritage
Abstract: Intangible cultural heritage is passed down orally and physically and has obvious physical nature.
The introduction of the "body" perspective will help promote in-depth discussions on key issues such as body shaping and inheritance in the perspective of intangible cultural heritage.
Physical inheritance has become the core intermediary for the inheritance of intangible cultural heritage, and it is also an object that needs attention and research to protect human cultural diversity and creativity.
Representative inheritors of the Jing intangible cultural heritage inherit the endangered intangible cultural heritage projects of the Jing people through hard physical training, combining ethnic cultural memory and physical experience, reshaping the Jing people's ethnic imagination and cultural identity, which not only expands The development boundaries of the Jing people's intangible cultural heritage are of milestone significance in the development of contemporary Jing people's culture, and can also provide a mirror for exploring more diverse protection paths for inheritors of Chinese intangible cultural heritage.
Keywords: Jing nationality; intangible cultural heritage; physical inheritance
Since the 1970s and 1970s,"body research" has become a particularly eye-catching area in Western humanities and social science research, and anthropology has also made unique contributions in this field.
These research results have greatly promoted scholars 'field investigations and analytical discussions on the physical inheritance of intangible cultural heritage, and have also improved the entire society's further understanding of the cultural value of the inheritors of intangible cultural heritage, and enhanced the public's understanding of intangible cultural heritage.
Cultural awareness of inheritance and protection.
In China society where multiple ethnic groups coexist, each ethnic group has its own special physical understanding within it and continues to play an important medium in the production and reconstruction of national culture.
The physical inheritance of intangible cultural heritage is richer and more diverse than we imagine, and its contributions are more than we imagine.
Research on this is not only an important combination of anthropological cultural research traditions and social research traditions, but also promotes the intrinsic continuation of the cultural value of intangible cultural heritage and the external inheritance of intangible cultural heritage skills.
1.
The local context of body inheritance research
Intangible cultural heritage is not only the common wealth of all mankind, but also a cultural matter with distinctive national characteristics.
Most of the intangible cultural heritage mastered by modern people is learned and passed on through oral and physical transmission, and is established among social groups.
Therefore, scholars have proposed that the key and core to the protection of intangible cultural heritage is the protection of inheritors.
Intangible cultural heritage inheritors have skills in different fields and play an indispensable role in the continuation and inheritance of national culture.
At present, research on intangible cultural heritage from the level of physical inheritance has gradually attracted attention from the academic community, but it is far from forming its own local context in China.
Research on intangible cultural heritage needs to be placed in specific contexts for in-depth research and discussion in order to form its own conceptual system and research framework, and at the same time engage in dialogue with Western research.
At present, China's intangible cultural heritage faces a complex and three-dimensional inheritance context unique to the social transformation period.
Research on intangible cultural heritage also involves basic philosophical and sociological issues such as "material-consciousness,""individual-society" and "essential-construction", which need to be discussed in conjunction with China's specific social culture and ethnic background.
In 2003, UNESCO Convention for the Safeguarding of Intangible Cultural Heritage defined the definition of inheritors of intangible cultural heritage: "inheritors of intangible cultural heritage" refers to certain natural persons or groups who directly participate in the inheritance of intangible cultural heritage performances, production, etc.
and are willing to pass on their knowledge and skills to future generations.
Because the intangible cultural heritage inherited by inheritors is created by human society in history and inherited in living form, it has important historical value, so inheritors or inheritors are often regarded as living carriers of excellent genes of a country, a nation or a region.
Its basic inheritance method is oral and personal, and its basic function is to inherit national historical knowledge, traditional crafts and technology, literature and art, national spirit and traditional morality.
Inheritance is the life of intangible cultural heritage.
This kind of transmission is naturally realized through the conscious physical and psychological investment of the intangible cultural heritage holder group.
Sometimes it is a sacred obligation of the ethnic group to obtain the guarantee of stable inheritance.
All intangible cultural heritage, whether in the form of oral language, physical performance, handicrafts, or cultural space, its original prototype is created by some outstanding individual members of society, and then passed through society.
The spread and inheritance of groups over a long historical period, thus forming a relatively stable intangible cultural heritage form and project.
Intangible cultural heritage is passed down from generation to generation and will inevitably undergo changes in the process of transmission.
In this transformation, the inheritor can not only learn exquisite and comprehensive physical skills from his predecessors, but also innovate or invent in him, that is, based on the knowledge or skills taught by his predecessors, the knowledge or skills inherited are enhanced by innovation and invention.
At present, affected by the rapid changes in social forms, many traditional cultural matters of various ethnic groups are gradually lost, and it is no longer possible to completely convey culture by relying solely on oral transmission of history.
For small ethnic groups in the border areas such as the Jing nationality, they are faced with the lack of national writing and the cultural impact caused by modernization and globalization, causing intangible cultural heritage to encounter many new problems in the process of cultural revival.
This state has already produced a non-negligible depletion power on the inheritance and protection of intangible cultural heritage.
Academic circles need to conduct timely localized research and discuss the physical inheritance of local society based on field data from different cultures.
Many theoretical starting points and research propositions in anthropology come from thinking about the relationship between "nature and culture" or "biological attributes and cultural attributes." Human biological attributes and cultural attributes are not binary concepts, but concepts that complement each other in culture.
The study of the body itself is the unity of the two.
Domestic scholars either conduct research from the classification of the expression and role of physical inheritance in intangible cultural heritage, highlighting the important role of the inheritors as the main body of the intangible cultural heritage; or discuss physical inheritance from the perspective of paradigm transformation in intangible cultural heritage research; or conduct research from the specific cultural matters of different ethnic groups, such as how physical inheritance continues to adapt and build an empirical order in many historical relationships.
Compared with past body research, China scholars have paid more and more attention to understanding the cultural implications of many intangible cultural heritage inheritors in body inheritance through field observation.
From the perspective of life, politics, technology, culture, ethnic group, etc., we subdivide the research on intangible cultural heritage into body habits, body shape and construction, and conduct diverse observations and meticulous thinking to discuss the impact of culture on the diversity and initiative of body inheritance.
At the same time, scholars also pay more attention to responding to Western discourse on body research.
Among the research on local body inheritance, the most frequently cited academic discussion may be Moss's proposal that the learning of body technology is based on the understanding of one's own traditional culture.
Most scholars agree that Moss observes its impact on physical inheritance from daily levels such as biological, psychological, social and ethnic.
It is believed that in the process of physical inheritance of intangible cultural heritage, it is difficult to escape the constraints of cultural habits.
In addition, it often responds to Mary Douglas's two symbolic systems of physical and social bodies, Foucault's theory of physical discipline, and Bourdieu's concept of habitual habits.
The theoretical discussion of Western body research has laid a solid theoretical foundation for us to analyze the social and cultural significance of body inheritance in intangible cultural heritage.
More and more research believes that the protection and inheritance of intangible cultural heritage should pay attention to the physical inheritance of intangible cultural heritage.
The inheritors of intangible cultural heritage have long been engaged in important national skills.
Their physical inheritance plays an indispensable role in the dissemination and historical inheritance of traditional skills, and has also become the leading force in the current construction of intangible cultural heritage classics.
Inheriting people to actively preserve traditional national skills and display them in different fields, expanding the cultural influence of intangible cultural heritage projects, helping to gather national consciousness, and helping other ethnic groups understand the cultural connotation of small and small ethnic groups, and promoting Chinese cultural community.
and the development of a multicultural society.
As traditional skills, many ethnic minority intangible cultural heritage projects seem unable to attract the attention of young people under the influence of changes of the times and contemporary competition with other modern skills.
However, under the inevitable trend of aging inheritors, cultivating new inheritors has become a topic that has to be paid attention to.
While various intangible cultural heritage projects carry out various innovations and reforms in terms of physical inheritance itself to attract young people, how to continue to pass down the originally exquisite skills is worth pondering.
When carrying out the work of rescuing skills, the method of physical inheritance is the most direct and effective.
The most important question is how to attract young people to join the ranks of traditional skills learning.
Contemporary intangible cultural heritage inheritors regard intangible cultural heritage projects as a common cultural asset of the ethnic group, encourage ethnic groups to use their bodies to embody the national culture, and regard performances as physical practices.
In addition to emphasizing individual physical practices, they emphasize collective physical practices.
These practices connect ethnic groups with traditional culture, and learning traditional body skills means learning traditional national culture.
2.
Inheritance of the Jing nationality's single-string piano skills: Extension of the body
The physical skills of the inheritors of Jing culture record rich cultural experience and life memories.
Its physical inheritance and social change, cultural inheritance and identity change are all extremely meaningful topics.
Among the small and small ethnic groups in China, the proportion of Jing intangible cultural heritage selected for projects and inheritors is relatively high.
As of April 2019, the Jing people, with a population of only 28,000, have successfully applied for 14 intangible cultural heritage projects at all levels.
Among them, the Jing Ha Festival and the Jing single-string piano art are national intangible cultural heritage.
Inheritors of Jing culture of different generations have faced changes in social environment and norms with different physical skills.
As cultural inheritors of traditional Jing society, under the norms of ethnic concepts, those skills that are closely connected to the ocean livelihood model have become the focus of physical inheritance, such as the "high-foot-rimmed" skills.
After the 1980s, under the influence of economic development and national policies, the inheritors of the Jing nationality regained physical skills such as rituals, national music and dance, and national sports, devoted themselves to the study of traditional body expressions, and sought memories of the Jing nationality's traditional culture.
and recognition.
In the 21st century, with the development of national education and the influence of the national intangible cultural heritage policy, the inheritors of Jing culture actively participated in the inheritance of the Jing traditional skills.
The Jing people have a number of cultural projects that have been included in the intangible cultural heritage lists at all levels.
After the once declining cultural matters were rediscovered, intangible cultural heritage inheritors actively preserved national traditional skills through physical inheritance and carried out intangible cultural heritage in different fields.
The display of intangible cultural heritage skills has expanded the cultural influence of intangible cultural heritage projects and made them once again an important symbol of modern Jing culture.
Although Hajie, single-stringed piano, the character Nom, and fishing on stilts belong to special local cultures, the ethnic people firmly believe that they can become spiritual symbols of the Jing people.
Spiritual symbols condense the strength of the people, and the condensed strength also enhances the identity of the nation.
Jing single-string piano art is an art form that uses physical practice as a medium.
From the beginning of the 20th century to the 1950s, the situation of my country's traditional national musical instruments was extremely difficult.
Especially in areas such as coastal and border areas that are particularly deeply affected by war, it is not easy for the traditional culture of ethnic minorities to survive in the chaos of war.
Before the 1960s, when the Harbin Festival, an important national festival of the Jing nationality, was held, singing and dancing in Hating required the use of single-string piano accompaniment, as well as a fixed number of piano players.
After the 1960s, due to the decline of traditional festivals, the single-string piano also tended to decline.
However, despite the hardships, this unique Jing art was preserved by the people.
As a representative of the Jing instrumental music culture,"Jing Single-String Qin Art" was included in the National Intangible Cultural Heritage List in 2011, which also promoted the development and transformation of the Jing Single-String Qin art into a new historical stage.
The inheritors strive to display this national art with profound historical origins in a more beautiful form.
Traditionally, most of the Jing single-string piano players were male and played while sitting down.
At present, there are both men and women players, and the common form of playing is standing up and playing in Jing ethnic costumes.
The change of body posture makes the beauty of music sublimate against the beauty of human body shape.
The music of the single-string piano is colorful and unique.
When playing a single-string piano, place the piano horizontally on a stand or leg, hold the stick with your right hand, and touch each overtone point of the string with the palm of your hand.
Hold the rocker with your left hand and change the tension of the string by pushing and pulling to increase or decrease the height of pronunciation.
The right-hand skills include playing, lifting and touching strings; the left-hand skills include kneading strings, pulling, pushing, shaking, trill and glide.
The single-string piano has very high requirements on fingering, and higher requirements on physical expression when playing.
Therefore, the Jing people have an evaluation of this traditional skill as "learning it at the age of six and 80%".
After years of hard work, highly skilled single-string piano artists can bring the audience into a wonderful realm with one string and one pair of hands.
For example, a modern poet wrote:
His upper body leaned forward slightly and his expression was calm.
Could he have expected the shock at the end of the performance?// He stretched out one hand and held the raised part of the piano head, and brushed it casually with the other hand.
The art intoxicated the entire hall//Mountains and flowing water, the sound of feet in the valley, and the rain hitting plantains? Oh no, there is only peace here//All eyes are on his hands//How much accumulation will it take to achieve a magical finger//The piano music gradually slows down, like a relative calling low in his hometown//The hall is quieter, but you can hear each other's breathing.
As Blakin emphasized: "The structure adopted by music and its impact on humans arise from human social experiences in different cultural environments." It can be said that the cultural genes hidden in the hearts of the inheritors of the single-string piano constitute an unconscious physical expression, forming a unique national style.
During the performance process, their bodies carry unconcealed cultural traces, reflecting the social and cultural characteristics of the Jing nationality.
The psychological community often puts forward that "the body cannot lie" not only means that body language can reveal the true thoughts of the heart, but also means that the body shape can also reveal unconscious cultural characteristics and convey strong information of ethnic identity.
In fact, as the performance progressed, the single-string piano players were telling the history of the nation with their bodies, and infecting the people and appreciators with their bodies.
Jing single-string piano players converted the physical practice of sitting up playing into standing playing, and more comprehensively promoted the many historical, social, customs, culture, and religious connotations accumulated in Jing costumes.
Clothing has become an extension of the performer's body.
It is no longer just a medium for individuals to express themselves, but also an indicative symbol presented on the performer's body, which is related to the historical memory and social composition of the nation.
The phenomenon of globalization stimulates localization, with various ethnic groups emphasizing their cultural traditions more than in the past.
We can see the expectations of the Jing people from field interviews and questionnaires.
They still hope to inherit and develop their unique national culture.
The responsibility for establishing ethnic cultural awareness falls on the representative inheritors.
They must inherit the tradition of searching for the previous generation and pass it on to the next generation of the Jing people.
The annual Harbin Festival is also one of the best opportunities for the intergenerational inheritance of the Jing nationality's single-stringed violin culture.
Many single-stringed violin players who have already worked and lived across the country and have achieved high achievements in the field of single-stringed violin culture will return to their hometowns to participate in the Harbin Festival., and perform for the people and guests on the stage of the Harbin Festival Gala and in front of the Ha Ting, inspiring the people's recognition and inheritance of the Jing nationality's single-stringed violin.
Moreover, the traditional bamboo single-stringed piano is used instead of the wood carving colorful single-stringed piano usually used on the stage.As Paul Connerton said: "During memorial ceremonies, our bodies reproduce past images in their own style, and we can also effectively preserve the past through the ability to continue to perform certain artistic movements." He believes that the body is a tool for recording, and through repeated practice of skills in commemorative ceremonies, memories of past lives can be preserved.
Through inheriting people's physical practice of the single-string piano, memories and skills can be memorized by the body, so that traditional skills can be extended to the life memories of contemporary people.
In terms of the cultural connotation of "things", the Jing single-stringed piano is an explicit material and cultural representation of the ethnic group and has the cultural function of condensing ethnic awareness and strengthening ethnic identity.
The large stone carvings representing the image of the Jing nationality in Hating of the Jing nationality are all scenes of the Jing nationality children playing a single-stringed violin.
The inheritors of the single-string piano also use the study of the piano art to stack up the memories and experience of the body.
Through the teaching of single-string piano training bases and ethnic schools, through the acquisition of new single-string piano playing forms, they are connected with the life memories of the previous generation of single-string piano masters and physical experience to reshape the ethnic imagination and cultural identity of the Jing people.
Multiculturalism emphasizes cultural diversity.
If the Jing people do not actively seek and create their own culture and emphasize the uniqueness of "I","the other" will not be able to understand its cultural uniqueness.
When traditions passed down through the body can be recognized, they can serve as an intermediary for collective representation and establish ethnic awareness and identity.
During the solemn and solemn Harbin Festival of the Jing nationality every year, after the sacrifice, Tao Gu (now known as "Harbin") sings and dances until the end of the Harbin Festival, for a total of five or six hours in two periods a day.
The types of dances are divided into wine entering dance, sky lantern dance, tea picking and snail touch dance, flower stick dance, etc.
Among them, the most difficult "Sky Lantern Dance", the dancers hold a plate with lit candles in their hands and above their heads.
Following the rhythm of the drum, they turn the wrist holding the plate with their hands while dancing piously.
The Tiandeng Dance team looks crisscrossed, shining candlelight like fishing fire on the sea.
The visual effect is beautiful, but the training is very difficult and you will be injured if you are not careful.
However, the selected peach girls all go all out to devote themselves to training.
The peach girls believe that physical training can enable them to strengthen their function of dispelling evil spirits with solemn dances in the Kazakh ritual space, and use solemn singing and dancing content to educate their clansmen.
Their physical practice not only carries the ceremony itself, but also inherits the traditional culture of the Jing people.
3.
The inheritance of the Jing nationality's high-foot skills: the tempering of the body
The laws and regulations on the collection, protection and inheritance of intangible cultural heritage clearly state that for endangered intangible cultural heritage projects, if the heritage stock is very limited and the destroyed heritage is of real value, cultural restoration should be carried out to restore it to its previous state as much as possible.
The "high-foot net", which was listed as a municipal intangible cultural heritage in 2012, was originally a daily labor skill of the Jing ethnic group."High-foot" means that fishermen walk on stilts.
The "net" means fishing net, and is used as a verb.
Fishing with fishing net.
"High-foot fishing" is an ancient fishing method and a way of livelihood left behind by the ancestors of the Jing nationality.
It has been passed down for more than 1000 years.
With the development of modern fishing operations,"high-legged nets" have gradually withdrawn from the historical stage and are on the verge of extinction.
In June 2014, CCTV Financial Channel broadcast "Guangxi Dongxing: Fishing on stilts", which conveyed three messages: first, shallow sea fishery resources are gradually exhausted; second, fishery production methods have changed; third, traditional skills are lacking.
"Standing on the coastline, there will always be emotion that resources will be exhausted.
Stern fishing, which was once very developed, is now gradually dying out.
In the Wanwei Fishing Village of the Jing people, these are the last five people who can fish on stilts."
Affected by the protection of intangible cultural heritage, the local government began to protect and inherit the "high-foot-rimmed" and re-cultivate the inheritors of the "high-foot-rimmed".
Inheritors have gone through arduous physical training and regained this traditional national skill.
The focus of our attention is that in the context of intangible cultural heritage,"Gaojiao" has been associated with the history and traditional livelihood of a nation, and can become the ethnic symbol and symbol of the entire Jing nationality.
As an important symbol of the traditional livelihood culture of the Jing nationality, the physical practice of its inheritors is reproduced through sharpening, in order to consolidate the physical image of its ethnic culture.
With the development of the times, how can the collective memory of traditional cultural skills be extended to the younger generation? The Jing people's stilts not only have long wooden feet, but also carry huge fishing nets and work in the sea.
The difficulty and intensity are beyond the reach of ordinary people.
Jing fishermen have inherited this skill for thousands of years because the economy of the Jing ethnic area was backward and life was difficult in the past.
After all, not many people could own fishing boats to work out at sea.
More people made a living by drawing large nets and stepping on high feet.
Using "high-legged nets" to catch fish and shrimp not only requires a firm footing, but also strength in the hands.
Of course, fishing skills are also required.
It can be said that physical strength and mental strength complement each other.
More importantly, this unique fishing method once allowed the Jing people to have a bumper harvest of fish.
Every year from the sixth to eighth months of the lunar calendar, small-sized shrimps migrate from the deep sea to the shallow coast.
At this time, when fishermen went to the sea to "add" shrimps, because they could not see the direction of the shrimps in the sea, they could not see the direction of the shrimps in the sea.
The intelligent Jing people would "bend their feet" on stilts and observe and fish from a high altitude in the sea.
This is the Jing people's "high-legged spreaders".
This can improve efficiency and greatly increase the catch of fish and shrimp.
In good times, fishermen catch more than 500 tons of fish and shrimp in a fishing season.
The high-legged net is not simply to put one foot into the sea, but to carry the heavy "net" on the stilts and go to the sea.
The foot of the boat will sink into the sand under the water and must be pulled up before walking.
It must also be pushed, picked up, picked up, shook the net, etc.
in the sea, so it is a job that men can get.
All Jing men must master it, otherwise they won't even be able to marry a wife.
Nowadays, almost no one goes into the sea, and puts these stilts and nets out in their yards to dry them.
Generations of ancestors have used this to catch fish and shrimp.
The traditional daily living space has changed and is impossible to restore, and the exploration and creation of new development spaces are of more positive significance.
Due to the participation of various forces, the local government has now begun to protect and inherit stilts fishing.
On the one hand, it promotes the application of the Jing nationality's "high-foot nets" for intangible cultural heritage projects at all levels, and on the other hand, it re-cultivates stilts fishing inheritors and links it with the development of the national cultural industry.
The inheritors began to pass on their own skills without reservation to the clansmen who were interested in learning to fish on stilts.
They carried out arduous physical training for this purpose.
After falling, climbing, standing, and stepping on time and time again, they regained this traditional national skill.
In the process of pursuing skills and performance, the body and object, body and soul gradually tend to integrate.
Inheritors regard the body as a subject with action, perception and initiative.
When learners overcome their own limitations to a certain extent, what they express is often no longer just the appearance and form of actions.
In the context of intangible cultural heritage,"Gaojiao" has been associated with the history and traditional livelihood of a nation, and can become the ethnic symbol and symbol of the entire Jing nationality, and be re-endowed with a sanctity.
In these behavioral practices, the body of the inheritor who speaks through the medium of his body is both a biological body and a cultural body.
The physical inheritance of the Jing nationality's traditional skills was once mainly passed down through the school.
However, in recent years, under the influence of the national intangible cultural heritage policy and the support of the local government, it has both been demonstrated locally and the teaching inheritance of "intangible cultural heritage on campus".
It not only promotes the revival of traditional cultural preservation, but also promotes the practice of physical inheritance of traditional skills in ethnic schools.
After the Jing nationality single-stringed piano and "high-foot piper" training class entered the Jing nationality school, the inheritors regularly went to the Jing nationality school to teach students.
Students selected to learn the single-string piano also know that the single-string piano and the "high-foot piper" are both very important ethnic cultural heritage of the nation, and they also have a feeling of awe and closeness.
However, as far as these two skills are concerned, inheriting the human body skills is still very important.
The "high-foot piper" requires more than half a year of uninterrupted practice to master, and the single-string piano takes three to five years to reach a proficiency level.
Through school education plans, inheritors bring their skills to ethnic schools and widely cultivate more inheritors through physical inheritance.
This is not only conducive to ethnic schools to promote the inheritance of ethnic cultural education, but also conducive to inheritors to improve their own artistic realm.
The heritage that adheres to the inheritance has been respected and recognized by people, making these ethnic arts have irreplaceable value.
Understanding its own past has always been the historical task of every nation.
For a long time, the physical identity of small ethnic groups has enabled ethnic memories to be vividly passed on to future generations.
For the Jing people, it is through the physical inheritance and practice of traditional skills that they can confirm that traditional culture can be passed down from generation to generation.
Only by placing your body in this sense of belonging can you find the foundation for yourself to settle down.
The body can not only serve as a symbol of individuals, families and culture, but also as the core of ethnic identity.
conclusion
Representative inheritors are important loaders of intangible cultural heritage, and they shoulder the historical responsibility of inheriting national culture.
The rise and fall of national culture is fundamentally maintained by the inheritance mechanism within the culture.
The development environment of each region is different, which indirectly or directly creates different cultural landscapes and cultural contexts.
Under this background, unique physical inheritance activities belonging to each region are bred and become a showcase for different local cultures.
The intangible cultural heritage of many small ethnic groups has experienced cultural gaps.
Through the physical inheritance of representative inheritors, the endangered intangible cultural heritage projects of small ethnic groups have re-demonstrated their characteristics and gained impetus for sustainable development.
As Frederick Jameson pointed out, the activation and utilization of cultural heritage is to "find" history through superficial popular images.
With the advent of the era of globalization, representative inheritors of intangible cultural heritage are also reinterpreting, constructing, and creating their own cultural identities in a new historical context.
Its physical practice must not only strengthen the uniqueness of its own culture, but also find the universality behind the cultural individuality, strive to transcend the barriers between the two, and form new skills memories and cultural aesthetic identities.
Putting physical inheritance into consideration in the broad context of social development can provide a more complete understanding of its development.
Body theory has been developed for more than 30 years.
From the perspective of physical inheritance of intangible cultural heritage, relevant issues can also be placed into a more far-reaching perspective.
For researchers, it is more important to reflect on the social context in which they conduct body inheritance research and whether they can discover local or ethnic uniqueness during the research process.
At the same time, consider whether the environmental ecology and different belief systems of intangible cultural heritage inheritance practice have been recognized, protected and continued to be passed down.
(This article was published in "Journal of Yunnan Normal University Philosophy and Social Sciences Edition", No.
4, 2019.
The annotations are omitted, and see the original issue for details)